What is more direct and intimate than one-to-one conversation? Here two forces in American poetry, the Kenyon Review and the University of Arkansas Press, bring together discussions between one of America's leading poets and editors, David Baker, and nine of the most exciting poets of our day. The poets, who represent a wide array of vocations and aesthetic positions, open up about their writing processes, their reading and education, their hopes for and discontents with the contemporary scene, and much more, treating readers to a view of the range and capacity of contemporary American poetry.

For the first decade of the twenty-first century, every weekend, people throughout Uganda converged to participate in ebimeeza, open debates that invited common citizens to share their political and social views. These debates, also called “People’s Parliaments,” were broadcast live on private radio stations until the government banned them in 2009. In Talkative Polity, Florence Brisset-Foucault offers the first major study of ebimeeza, which complicate our understandings of political speech in restrictive contexts and force us to move away from the simplistic binary of an authoritarian state and a liberal civil society.

Brisset-Foucault conducted fieldwork from 2005 to 2013, primarily in Kampala, interviewing some 150 orators, spectators, politicians, state officials, journalists, and NGO staff. The resulting ethnography invigorates the study of political domination and documents a short-lived but highly original sphere of political expression. Brisset-Foucault thus does justice to the richness and depth of Uganda’s complex political and radio culture as well as to the story of ambitious young people who didn’t want to behave the way the state expected them to. Positioned at the intersection of media studies and political science, Talkative Polity will help us all rethink the way in which public life works.

This is the first book to dedicate scholarly attention to the work of Tarell Alvin McCraney, one of the most significant writers and theater-makers of the twenty-first century. Featuring essays, interviews, and commentaries by scholars and artists who span generations, geographies, and areas of interest, the volume examines McCraney’s theatrical imagination, his singular writerly voice, his incisive cultural critiques, his stylistic and formal creativity, and his distinct personal and professional trajectories.
 
Contributors consider McCraney’s innovations as a playwright, adapter, director, performer, teacher, and collaborator, bringing fresh and diverse perspectives to their observations and analyses. In so doing, they expand and enrich the conversations on his much-celebrated and deeply resonant body of work, which includes the plays Choir Boy, Head of Passes, Ms. Blakk for President, The Breach, Wig Out!, and the critically acclaimed trilogy The Brother/Sister Plays: In the Red and Brown Water, The Brothers Size, and Marcus; Or the Secret of Sweet, as well as the Oscar Award–winning film Moonlight, which was based on his play In Moonlight Black Boys Look Blue.
 

Tell Me Why My Children Died tells the gripping story of indigenous leaders' efforts to identify a strange disease that killed thirty-two children and six young adults in a Venezuelan rain forest between 2007 and 2008. In this pathbreaking book, Charles L. Briggs and Clara Mantini-Briggs relay the nightmarish and difficult experiences of doctors, patients, parents, local leaders, healers, and epidemiologists; detail how journalists first created a smoke screen, then projected the epidemic worldwide; discuss the Chávez government's hesitant and sometimes ambivalent reactions; and narrate the eventual diagnosis of bat-transmitted rabies. The book provides a new framework for analyzing how the uneven distribution of rights to produce and circulate knowledge about health are wedded at the hip with health inequities. By recounting residents' quest to learn why their children died and documenting their creative approaches to democratizing health, the authors open up new ways to address some of global health's most intractable problems. 

 

Everyone knows that work in America is not what it used to be. Layoffs, outsourcing, contingent work, disappearing career ladders—these are the new workplace realities for an increasing number of people. But why? In The Temp Economy, Erin Hatton takes one of the best-known icons of the new economy—the temp industry—and finds that it is more than just a symbol of this degradation of work. The temp industry itself played an active role in this decline—and not just for temps. Industry leaders started by inventing the "Kelly Girl," exploiting 1950s gender stereotypes to justify low wages, minimal benefits, and chronic job insecurity. But they did not stop with Kelly Girls. From selling human"business machines" in the 1970s to "permatemps" in the 1990s, the temp industry relentlessly portrayed workers as profit-busting liabilities that hurt companies' bottom lines even in boom times. These campaigns not only legitimized the widespread use of temps, they also laid the cultural groundwork for a new corporate ethos of ruthless cost cutting and mass layoffs.

Succinct, highly readable, and drawn from a vast historical record of industry documents, The Temp Economy is a one-stop resource for anyone interested in the temp industry or the degradation of work in postwar America.

This collection raises timely questions about peace and stability as it interrogates the past and present status of international relations. The post–World War II liberal international order, upheld by organizations such as the United Nations, the North Atlantic Treaty Organization, and similar alliances, aspired to ensure decades of collective security, economic stability, and the rule of law. All of this was a negotiated process that required compromise—and yet it did not make for a peaceful world. When Winston Churchill referred to the UN framework as “the temple of peace” in his famous 1946 Iron Curtain speech, he maintained that international alliances could help provide necessary stability so free people could prosper, both economically and politically. Though the pillars of international order remain in place today, in a world defined as much by populism as protest, leaders in the United States no longer seem inclined to serve as the indispensable power in an alliance framework that is built on shared values, human rights, and an admixture of hard and soft power. In this book, nine scholars and practitioners of diplomacy explore both the successes and the flaws of international cooperation over the past seventy years. Collectively, the authors seek to address questions about how the liberal international order was built and what challenges it has faced, as well as to offer perspectives on what could be lost in a post-American world.

Winner of the 2019 Agnes Lynch Starrett Poetry Prize

The Tenant of Fire is about Queens, NY—its history, public and personal, real and imagined. Many of the people who populate this book—Irish Catholics, Italian-Americans—were once considered ethnic but now fall wholly under the banner of white. And from their anxieties a man like Donald Trump emerges. Born and raised in Queens, Trump is both the product and purveyor of a localized nativist politic.

The young white speaker of these poems works to record his parents’ and neighbors’, both white and of color, and his own attempts at navigating a shifting landscape. In poems on the homecoming of Vietnam vets, or the aftermath of Hurricane Sandy, or the firebombing of Malcolm X’s house, The Tenant of Fire explores how and why the plurality of a place like Queens, where now nearly two hundred languages are spoken, is viewed as a threat to national security.

For more than twenty years now, Blair Kamin of the Chicago Tribune has explored how architecture captures our imagination and engages our deepest emotions. A winner of the Pulitzer Prize for criticism, Kamin treats his subjects not only as works of art but also as symbols of the cultural and political forces that inspire them. Terror and Wonder gathers the best of Kamin’s writings from the past decade along with new reflections on an era framed by the destruction of the World Trade Center and the opening of the world’s tallest skyscraper.

Assessing ordinary commercial structures as well as head-turning designs by some of the world’s leading architects, Kamin paints a sweeping but finely textured portrait of a tumultuous age torn between the conflicting mandates of architectural spectacle and sustainability. For Kamin, the story of our built environment over the past ten years is, in tangible ways, the story of the decade itself. Terror and Wonder considers how architecture has been central to the main events and crosscurrents in American life since 2001: the devastating and debilitating consequences of 9/11 and Hurricane Katrina; the real estate boom and bust; the use of over-the-top cultural designs as engines of civic renewal; new challenges in saving old buildings; the unlikely rise of energy-saving, green architecture; and growing concern over our nation’s crumbling infrastructure.

A prominent cast of players—including Santiago Calatrava, Frank Gehry, Helmut Jahn, Daniel Libeskind, Barack Obama, Renzo Piano, and Donald Trump—fills the pages of this eye-opening look at the astounding and extraordinary ways that architecture mirrors our values—and shapes our everyday lives.

Immigration politics has been significantly altered by the advent of America’s war on terror and the proliferation of security measures. In her cogent study, Terrorizing Latina/o Immigrants, Anna Sampaio examines how these processes are racialized and gendered and how they impose inequitable burdens on Latina/o immigrants. She interrogates the rise of securitization, restrictive legislation, and the return of large-scale immigration raids and describes how these re-articulate and re-inscribe forms of racial and gender hierarchy.  

Terrorizing Latina/o Immigrants demonstrates how the ascendance of America as a security state serves as a template to scrutinize, harass, and encumber immigrants while also reconfiguring citizenship. Sampaio uses intersectional analysis coupled with theoretical and empirical approaches to develop a critical framework for analyzing current immigration politics.

Sampaio provides a sustained and systematic examination of policy and enforcement shifts impacting Latinas/os. Her book concludes with an examination of immigration reform under the Obama administration, contrasting the promise of hope and change with the reality of increased detentions, deportations, and continued marginalization.

How did the most powerful nation on earth come to embrace terror as the organizing principle of its security policy? In The Theater of Operations, Joseph Masco locates the origins of the present-day U.S. counterterrorism apparatus in the Cold War's "balance of terror." He shows how, after the attacks of 9/11, the U.S. global War on Terror mobilized a wide range of affective, conceptual, and institutional resources established during the Cold War to enable a new planetary theater of operations. Tracing how specific aspects of emotional management, existential danger, state secrecy, and threat awareness have evolved as core aspects of the American social contract, Masco draws on archival, media, and ethnographic resources to offer a new portrait of American national security culture. Undemocratic and unrelenting, this counterterror state prioritizes speculative practices over facts, and ignores everyday forms of violence across climate, capital, and health in an unprecedented effort to anticipate and eliminate terror threats—real, imagined, and emergent.
 

In There Used to Be Order, Patience Mususa considers social change in the Copperbelt region of Zambia following the re-privatization of the large state mining conglomerate, the Zambia Consolidated Copper Mines (ZCCM), in the mid-1990s. As the copper mines were Zambia’s most important economic asset, the sale of ZCCM was considered a major loss to the country. More crucially, privatization marked the end of a way of life for mine employees and mining communities. Based on three years of ethnographic field research, this book examines life for those living in difficult economic circumstances, and considers the tension between the life they live and the nature of an “extractive area.” This account, unusual in its examination of middle-income decline in Africa, directs us to think of the Copperbelt not only as an extractive locale for copper whose activities are affected by the market, but also as a place where the residents’ engagement with the harsh reality of losing jobs and struggling to earn a living after the withdrawal of welfare is simultaneously changing both the material and social character of the place. Drawing on phenomenological approaches, the book develops a theoretical model of “trying,” which accounts for both Copperbelt residents’ aspirations and efforts.

Following Brexit and the earlier referendum on Scottish independence, the debate about British identity has been given recent new prominence. Historically conceived to integrate conflicting nationalisms in an “ever more perfect union,” Britain has lately succumbed to particular resurgent nationalisms in a curious reversal of fortune.

With These Islands, Ali M. Ansari considers the idea of Britain as a political entity. This idea of Britain considers some nationalists as suppressed minorities in need of attention, and others as bigoted throwbacks to a more divisive age. Arguing the case for Great Britain from the perspective of the political mythology of the British state—with an emphasis on culture, ideas and narrative constructions—Ansari makes the claim that Britain’s strength lies in its ability to shape the popular imagination, both at home and abroad. He concludes that an “excess of enthusiasm” may yet do untold damage to the fabric of a state and society that has been carefully constructed over the centuries and may not be easily repaired.
 

The poems of Ulrike Almut Sandig are at once simple and fantastic. This new collection finds her on her way to imaginary territories. Thick of It charts a journey through two hemispheres to “the center of the world” and navigates a “thicket” that is at once the world, the psyche, and language itself. The poems explore an urgently urban reality, but that reality is interwoven with references to nightmares, the Bible, fairy tales, and nursery rhymes—all overlaid with a finely tuned longing for a disappearing world. The old names are forgotten, identities fall away; things disappear from the kitchen; everything is sliding away. Powerful themes emerge, but always mapped onto the local, the fractured individual in “the thick of it” all. This is language at its most crafted and transformative, blisteringly contemporary, but with a kind of austerity, too. By turns comic, ironic, skeptical, nostalgic, these poems are also profoundly musical, exploiting multiple meanings and stretching syntax, so that the audience is constantly kept guessing, surprised by the next turn in the line.
 

As the twentieth century drew to a close, experimentalism in American poetry was most commonly identified with Language writing. At the same time, however, a number of poets, many of them women, were developing their own alternative forms of experimentalism, creating “uncommon languages” often indebted to Language writing but distinct from it.

      With impressive intellectual engagement and nuanced presentation, Thinking Poetry provides a meticulous and provocative analysis of the ways in which Alice Fulton, Myung Mi Kim, Joan Retallack, Cole Swensen, Rosmarie Waldrop, Susan Wheeler, and C. D. Wright explored varied compositional strategies and created their own innovative works. In doing so, Lynn Keller resourcefully models a range of reading strategies that will assist others in analyzing the complex epistemology and craft of recent “exploratory” writing.

       The seven women whose work is discussed here demonstrate widely differing ways of using poetry to, as Swensen puts it, “stretch the boundaries of the sayable.” Thinking Poetry examines approaches to women’s poetic exploration, ranging from radically open, thoroughly disjunctive writing to feminist experimentation within relatively conventional free verse forms; from texts testing the resources of visual elements and page space to those in which multilingualism or digital technology provide arenas for innovation; from revitalized forms of ekphrasis to fresh approaches to pop culture.

        Keller illuminates as well a transitional era in U.S. poetry that presaged current developments that are often seen as combining the poetics of personal lyric and Language writing. Thinking Poetry challenges reductive notions of such a synthesis as it makes clear that the groundwork for current poetic trends was laid by poets who, in a far more polarized climate, pursued their own, often distinctly feminist, visions of necessary innovation.

Knowledge emerges from contexts, which are shaped by people’s experiences. The varied essays in Thinking the US South: Contemporary Philosophy from Southern Perspectives demonstrate that Southern identities, borders, and practices play an important but unacknowledged role in ethical, political, emotional, and global issues connected to knowledge production. Not merely one geographical region among others, the US South is sometimes a fantasy and other times a nightmare, but it is always a prominent component of the American national imaginary. In connection with the Global North and Global South, the US South provides a valuable perspective from which to explore race, class, gender, and other inter- and intra-American differences. The result is a fresh look at how identity is constituted; the role of place, ancestors, and belonging in identity formation; the impact of regional differences on what counts as political resistance; the ways that affect and emotional labor circulate; practices of boundary policing, deportation, and mourning; issues of disability and slowness; racial and other forms of suffering; and above all, the question of whether and how doing philosophy changes when done from Southern standpoints. Examining racist tropes, Indigenous land claims, Black Southern philosophical perspectives, migrant labor, and more, this incisive anthology makes clear that roots matter.

The powerful essays in Paul Crenshaw’s This One Will Hurt You range in subject matter from the fierce tornadoes that crop up in Tornado Alley every spring and summer to a supposedly haunted one-hundred-year-old tuberculosis sanatorium that he lived on the grounds of as a child. They ruminate on the effects of crystal meth on small southern towns, Maurice Sendak’s Where the Wild Things Are, and the ongoing struggle of being a parent in an increasingly disturbing world. They surprise, whether discovering a loved one’s secret, an opossum’s motivation, or the unexpected decision four beer-guzzling, college-aged men must make. They tell stories of family and the past, the histories of small things such as walls and weather, and the faith it takes to hold together in the face of death.
 
With eloquence, subtle humor, and an urgent poignancy, Crenshaw delivers a powerful and moving collection of nonfiction essays, tied together by place and the violence of the world in which we live.
 

In This Thing Called the World Debjani Ganguly theorizes the contemporary global novel and the social and historical conditions that shaped it. Ganguly contends that global literature coalesced into its current form in 1989, an event marked by the convergence of three major trends: the consolidation of the information age, the arrival of a perpetual state of global war, and the expanding focus on humanitarianism. Ganguly analyzes a trove of novels from authors including Salman Rushdie, Don DeLillo, Michael Ondaatje, and Art Spiegelman, who address wars in Iraq, Afghanistan, and Sri Lanka, the Palestinian and Kashmiri crises, the Rwandan genocide, and post9/11 terrorism. These novels exist in a context in which suffering's presence in everyday life is mediated through digital images and where authors integrate visual forms into their storytelling. In showing how the evolution of the contemporary global novel is analogous to the European novel’s emergence in the eighteenth century, when society and the development of capitalism faced similar monumental ruptures, Ganguly provides both a theory of the contemporary moment and a reminder of the novel's power.
 

The Peloponnesian War (431–404 BCE) ostensibly arose because of the fear that a rising Athens would threaten Sparta’s power in the Mediterranean. The idea of Thucydides’ Trap warns that all rising powers threaten established powers. As China increases its power relative to the United States, the theory argues, the two nations are inevitably set on a collision course toward war. How enlightening is an analogy based on the ancient Greek world of 2,500 years ago for understanding contemporary international relations? How accurate is the depiction of the history of other large armed conflicts, such as the two world wars, as a challenge mounted by a rising power to displace an incumbent hegemon?Thucydides’s Trap?: Historical Interpretation, Logic of Inquiry, and the Future of Sino-American Relations offers a critique of the claims of Thucydides’s Trap and power-transition theory. It examines past instances of peaceful accommodation to uncover lessons that can ease the frictions in ongoing Sino-American relations.

Ambitious in its historical scope and its broad range of topics, Tied to the Great Packing Machine tells the dramatic story of meatpacking’s enormous effects on the economics, culture, and environment of the Midwest over the past century and a half. Wilson Warren situates the history of the industry in both its urban and its rural settings—moving from the huge stockyards of Chicago and Kansas City to today’s smaller meatpacking communities—and thus presents a complete portrayal of meatpacking’s place within the larger agro-industrial landscape.
    Writing from the vantage point of twenty-five years of extensive research, Warren analyzes the evolution of the packing industry from its early period, dominated by the big terminal markets, through the development of new marketing and technical innovations that transformed the ways animals were gathered, slaughtered, and processed and the final products were distributed. In addition, he concentrates on such cultural impacts as ethnic and racial variations, labor unions, gender issues, and changes in Americans’ attitudes toward the ethics of animal slaughter and patterns of meat consumption and such environmental problems as site-point pollution and microbe contamination, ending with a stimulating discussion of the future of American meatpacking.
    Providing an excellent and well-referenced analysis within a regional and temporal framework that ensures a fresh perspective, Tied to the Great Packing Machine is a dynamic narrative that contributes to a fuller understanding of the historical context and contemporary concerns of an extremely important industry.

If all politics is local, then so is almost everything else, argues sociologist Gary Alan Fine. We organize our lives by relying on those closest to us—family members, friends, work colleagues, team mates, and other intimates—to create meaning and order. In this thoughtful and wide-ranging book, Fine argues that the basic building blocks of society itself are forged within the boundaries of such small groups, the "tiny publics" necessary for a robust, functioning social order at all levels. Action, meaning, authority, inequality, organization, and institutions all have their roots in small groups. Yet for the past twenty-five years social scientists have tended to ignore the power of groups in favor of an emphasis on organizations, societies, or individuals. Based on over thirty-five years of Fine's own ethnographic research across an array of small groups, Tiny Publics presents a compelling new theory of the pivotal role of small groups in organizing social life. No social system can thrive without flourishing small groups. They provide havens in an impersonal world, where faceless organizations become humanized. Taking examples from such diverse worlds as Little League baseball teams, restaurant workers, high school debate teams, weather forecasters, and political volunteers, Fine demonstrates how each group has its own unique culture, or idioculture—the system of knowledge, beliefs, behavior, and customs that define and hold a group together. With their dense network of relationships, groups serve as important sources of social and cultural capital for their members. The apparently innocuous jokes, rituals, and nicknames prevalent within Little League baseball teams help establish how teams function internally and how they compete with other teams. Small groups also provide a platform for their members to engage in broader social discourse and a supportive environment to begin effecting change in larger institutions. In his studies of mushroom collectors and high school debate teams, Fine demonstrates the importance of stories that group members tell each other about their successes and frustrations in fostering a strong sense of social cohesion. And Fine shows how the personal commitment political volunteers bring to their efforts is reinforced by the close-knit nature of their work, which in turn has the power to change larger groups and institutions. In this way, the actions and debates begun in small groups can eventually radiate outward to affect every level of society. Fine convincingly demonstrates how small groups provide fertile ground for the seeds of civic engagement. Outcomes often attributed to large-scale social forces originate within such small-scale domains. Employing rich insights from both sociology and social psychology, as well as vivid examples from a revealing array of real-work groups, Tiny Publics provides a compelling examination of the importance of small groups and of the rich vitality they bring to social life. A Volume in the Russell Sage Foundation Series on Trust

To Be At Music is the first collection of essays by Norma Cole, who is one of our most respected poets writing in the innovative tradition, as well as an esteemed translator and visual artist. These 21 prose pieces reflect her inimitable ability to make the critical essay an art form that engages both the sensual and the cerebral, the aural and the visual, the analytic and the intuitive nature of her readers. Many of these are essays or talks written in response to invitations to discuss the works of writers and artists such as Hans Christian Andersen, Robin Blaser, Edmond Jabès, Mina Loy, Lorine Niedecker, George Oppen, Stanley Whitney, and Christa Wolf. Each offers Cole's unique appreciation of what it means to read, to interact with a work of art, to write, or to translate, and to perceive each activity as a way to attune oneself anew to the world that is both within and beyond our expected methods of understanding.

Sean Singer’s radiant and challenging body of work involves, much like Whitman’s, nothing less than the ongoing interrogation of what a poem is. In this way his books are startlingly alive… I love in this work the sense that I am the grateful recipient of Singer’s jazzy curation as I move from page to page. Today in the Taxi is threaded through with quotes from Kafka, facts about jazz musicians, musings from various thinkers, from a Cathar fragment to Martin Buber to Arthur Eddington to an anonymous comedian. The taxi is at once a real taxi and the microcosm of a world—at times the speaker seems almost like Charon ferrying his passengers, as the nameless from all walks and stages of life step in and out his taxi. I am reminded of Calvino’s Invisible Cities, of Sebald’s The Rings of Saturn… Today in the Taxi is intricate, plain, suggestive, deeply respectful of the reader, and utterly absorbing. Like Honey and Smoke before it, which was one of the best poetry books of the last decade, this is work of the highest order.
—Laurie Sheck

What does it really mean when people are viewed as bytes of data? And is there beauty or an imaginative potential to information culture and the databases cataloging it? As Too Numerous reveals, the raw material of bytes and data points can be reshaped and repurposed for ridiculous, melancholic, and even aesthetic purposes. 

Grappling with an information culture that is both intimidating and daunting, Kent Shaw considers the impersonality represented by the continuing accumulation of personal information and the felicities—and barriers—that result: "The us that was inside us was magnificent structures. And they weren't going to grow any larger."

The 2010 Pennsylvania Senate election provided high drama from the earliest days of its primary campaigns right through Election Day. After long-time incumbent Arlen Specter was eliminated, the race boiled down to two fresh faces—Pat Toomey and Joe Sestak. Their battle constitutes a microcosm of the political divide that characterizes contemporary American politics.

Veteran writer Hal Gullan obtained special access to the Toomey campaign early on. Toomey's Triumph offers both that inside look and a Philadelphian's reflections of a riveting election. Gullan's astute month-by-month narrative distills the events of the year-long battles through the high drama and the day-to-day of grassroots organizing and campaigning. He describes how the candidates appear, what they say, and how the media pundits respond to their various gambits. He provides wry observations on the efficacy of each candidate's campaign ads and strategies, and he analyzes the up-and-down polls.

Toomey's Triumph provides an engaging chronicle of a critical campaign.

In this unflinching look at the experience of suffering and one of its greatest manifestations—torture—J. M. Bernstein critiques the repressions of traditional moral theory, showing that our morals are not immutable ideals but fragile constructions that depend on our experience of suffering itself. Morals, Bernstein argues, not only guide our conduct but also express the depth of mutual dependence that we share as vulnerable and injurable individuals.  
           
Beginning with the attempts to abolish torture in the eighteenth century, and then sensitively examining what is suffered in torture and related transgressions, such as rape, Bernstein elaborates a powerful new conception of moral injury. Crucially, he shows, moral injury always involves an injury to the status of an individual as a person—it is a violent assault against his or her dignity. Elaborating on this critical element of moral injury, he demonstrates that the mutual recognitions of trust form the invisible substance of our moral lives, that dignity is a fragile social possession, and that the perspective of ourselves as potential victims is an ineliminable feature of everyday moral experience. 

Have you ever felt totaled? In this book, Colin Cremin tackles the overbearing truth that capitalism encompasses the totality of our social relations, having woven itself deeply into the fabric of what it means to be human. He shows how the capitalist system totalizes everything in its path, as evidenced in industrialized warfare, modern surveillance, commodification, and political control. With ever deepening social crises and ecological catastrophes this system threatens civilization as we know it. But among the wreckage of capitalism, Cremin argues, we can still find functioning parts, machines to be salvaged. To do so, it is imperative that we be able to both imagine and realize a future other than the apocalypticism forewarned by scientists, prescribed by economists, accommodated by politicians, and made into spectacle by the entertainment industry.
            Totalled maps the deteriorating socio-economic, political, and ecological conditions in which we live. Yet Cremin asks how a utopian possibility discernable in the power of human creation can be realized even though as a society we are bound up materially, ideologically, libidinally—totally—to the capitalist machine of destruction. Totalled concludes with a politically and economically grounded set of propositions on how we might begin to imagine such a possibility.

In Tourist Distractions Youngmin Choe uses hallyu (Korean-wave) cinema as a lens to examine the relationships among tourism and travel, economics, politics, and history in contemporary East Asia. Focusing on films born of transnational collaboration and its networks, Choe shows how the integration of the tourist imaginary into hallyu cinema points to the region's evolving transnational politics and the ways Korea negotiates its colonial and Cold War past with East Asia's neoliberal present. Hallyu cinema's popularity has inspired scores of international tourists to visit hallyu movie sets, filming sites, and theme parks. This tourism helps ease regional political differences; reimagine South Korea's relationships with North Korea, China, and Japan; and blur the lines between history, memory, affect, and consumerism. It also provides distractions from state-sponsored narratives and forges new emotional and economic bonds that foster community and cooperation throughout East Asia. By attending to the tourist imaginary at work in hallyu cinema, Choe helps us to better understand the complexities, anxieties, and tensions of East Asia's new affective economy as well as Korea's shifting culture industry, its relation to its past, and its role in a rapidly changing region. 

 

This book examines popular representations of biracial women of black and white descent in the United States, focusing on novels, television, music, and film. Although the emphasis is on the 1990s, the historical arc of the study begins in the 1930s. Caroline A. Streeter explores the encounter between what she sees as two dominant narratives that frame the perception of mixed race in America. The first is based on the long-standing historical experience of white supremacy and black subjugation. The second is more recent and involves the post–Civil Rights expansion of interracial marriage and mixed-race identities. Streeter analyzes the collision of these two narratives, the cultural anxieties they have triggered, and the role of black/white women in the simultaneous creation and undoing of racial categories—a charged, ambiguous cycle in American culture.

Streeter's subjects include concert pianist Philippa Schuyler, Dorothy West's novel The Wedding (in print and on screen), Danzy Senna's novels Caucasia and Symptomatic, and celebrity performing artists Mariah Carey, Alicia Keys, and Halle Berry. She opens with a chapter that examines the layered media response to Essie Mae Washington-Williams, Senator Strom Thurmond's biracial daughter. Throughout the book, Streeter engages the work of feminist critics and others who have written on interracial sexuality and marriage, biracial identity, the multiracial movement, and mixed race in cultural studies.

A timely, politically savvy examination of how impossible disasters shape the very real possibilities of our world

Why would the normally buttoned-down national security state imagine lurid future scenarios like a zombie apocalypse? In Training for Catastrophe, author Lindsay Thomas shows how our security regime reimagines plausibility to focus on unlikely and even unreal events rather than probable ones. With an in-depth focus on preparedness (a pivotal, emergent national security paradigm since 9/11) she explores how fiction shapes national security.

Thomas finds fiction at work in unexpected settings, from policy documents and workplace training manuals to comics and video games. Through these texts—as well as plenty of science fiction—she examines the philosophy of preparedness, interrogating the roots of why it asks us to treat explicitly fictional events as real. Thomas connects this philosophical underpinning to how preparedness plays out in contemporary politics, emphasizing how it uses aesthetic elements like realism, genre, character, and plot to train people both to regard some disasters as normal and to ignore others.

Training for Catastrophe makes an important case for how these documents elicit consent and compliance. Thomas draws from a huge archive of texts—including a Centers for Disease Control comic about a zombie apocalypse, the work of Audre Lorde, and the political thrillers of former national security advisor Richard Clarke—to ask difficult questions about the uses and values of fiction. A major statement on how national security intrudes into questions of art and life, Training for Catastrophe is a timely intervention into how we confront disasters.

Today’s warfare has moved away from being an event between massed national populations and toward small numbers of combatants using high-tech weaponry. The editors of and contributors to the timely collection Transformations of Warfare in the Contemporary World show that this shift reflects changes in the technological, strategic, ideological, and ethical realms.

The essays in this volume discuss:

·the waning connection between citizenship and soldiering; 

·the shift toward more reconstructive than destructive activities by militaries; 

·the ethics of irregular or asymmetrical warfare; 

·the role of novel techniques of identification in military settings; 

·the stress on precision associated with targeted killings and kidnappings; 

·the uses of the social sciences in contemporary warfare. 

In his concluding remarks, David Jacobson explores the extent to which the contemporary transformation of warfare is a product of a shift in the character of the combatants themselves. 

Contributors include: Ariel Colonomos, Roberto J. González, Travis R. Hall, Saskia Hooiveld, Rob Johnson, Colonel C. Anthony Pfaff, Ian Roxborough, and the editors

In Transgenerational Remembrance, Jessica Nakamura investigates the role of artistic production in the commemoration and memorialization of the Asia-Pacific War (1931–1945) in Japan since 1989. During this time, survivors of Japanese aggression and imperialism, previously silent about their experiences, have sparked contentious public debates about the form and content of war memories.

The book opens with an analysis of the performance of space at Yasukuni Shinto Shrine, which continues to promote an anachronistic veneration of the war. After identifying the centrality of performance in long-standing dominant narratives, Transgenerational Remembrance offers close readings of artistic performances that tackle subject matter largely obscured before 1989: the kamikaze pilot, Japanese imperialism, comfort women, the Battle of Okinawa, and Japanese American internment. These case studies range from Hirata Oriza’s play series about Japanese colonial settlers in Korea and Shimada Yoshiko’s durational performance about comfort women to Kondo Aisuke’s videos and gallery installations about Japanese American internment.

Working from theoretical frameworks of haunting and ethics, Nakamura develops an analytical lens based on the Noh theater ghost. Noh emphasizes the agency of the ghost and the dialogue between the dead and the living. Integrating her Noh-inflected analysis into ethical and transnational feminist queries, Nakamura shows that performances move remembrance beyond current evidentiary and historiographical debates.

In Transnational Korean Cinema author Dal Yong Jin explores the interactions of local and global politics, economics, and culture to contextualize the development of Korean cinema and its current place in an era of neoliberal globalization and convergent digital technologies.

The book emphasizes the economic and industrial aspects of the story, looking at questions on the interaction of politics and economics, including censorship and public funding, and provides a better view of the big picture by laying bare the relationship between film industries, the global market, and government. Jin also sheds light on the operations and globalization strategies of Korean film industries alongside changing cultural policies in tandem with Hollywood’s continuing influences in order to comprehend the power relations within cultural politics, nationally and globally. This is the first book to offer a full overview of the nascent development of Korean cinema.

At the airport we line up, remove our shoes, empty our pockets, and hold still for three seconds in the body scanner. Deemed safe, we put ourselves back together and are free to buy the beverage we were prohibited from taking through security. In The Transparent Traveler Rachel Hall explains how the familiar routines of airport security choreograph passenger behavior to create submissive and docile travelers. The cultural performance of contemporary security practices mobilizes what Hall calls the "aesthetics of transparency." To appear transparent, a passenger must perform innocence and display a willingness to open their body to routine inspection and analysis. Those who cannot—whether because of race, immigration and citizenship status, disability, age, or religion—are deemed opaque, presumed to be a threat, and subject to search and detention. Analyzing everything from airport architecture, photography, and computer-generated imagery to full-body scanners and TSA behavior detection techniques, Hall theorizes the transparent traveler as the embodiment of a cultural ideal of submission to surveillance. 

 

Treacherous Subjects is a provocative and thoughtful examination of Vietnamese films and literature viewed through a feminist lens. Lan Duong investigates the postwar cultural productions of writers and filmmakers, including Tony Bui, Trinh T. Minh-ha, and Tran Anh Hung.

Taking her cue from the double meaning of "collaborator," Duong shows how history has shaped the loyalties and shifting alliances of the Vietnamese, many of whom are caught between opposing/constricting forces of nationalism, patriarchy, and communism. Working at home and in France and the United States, the artists profiled in Treacherous Subjects have grappled with the political and historic meanings of collaboration. These themes, which probe into controversial issues of family and betrayal, figure heavily in fictions such as the films The Scent of Green Papaya and Surname Viet Given Name Nam.

As writers and filmmakers collaborate, Duong suggests that they lay the groundwork for both transnational feminist politics and queer critiques of patriarchy.

Utah Series in Middle East Studies

On July 15, 2016, a faction of the Turkish military attempted to overthrow the government of President Recep Tayyip Erdoğan. The Turkish government blamed the unsuccessful coup attempt on Gülenists, adherents of an Islamist movement led by Fethullah Gülen. They had helped elect Erdoğan and his AK Party, with the goal of bringing an ostensibly “soft” version of Islam into the secular Turkish government. In alliance with the AK Party, Gülenists steadfastly increased their representation in various government institutions, including the military, the police, and the judiciary. This volume focuses on the historical and sociopolitical contexts of the Gülen Movement’s origins and political ascendancy along with its possible role in the failed coup.
 

Editors Yavuz and Balcı are among the first international scholars to have studied the movement from its nascent stages in Turkey. The volume's contributors include scholars who have researched the movement in Turkey, Central Asia, and the Balkans. The result is a comprehensive, timely assessment of numerous dimensions of Gülenist activities, including its social and political networks and the institutions that supported the movement as it became a major economic and educational force in Turkey and elsewhere. This volume reflects exchanges among scholars who having studied the Gülenists, assembled to discuss how and why the movement became belligerent opponents of Erdoğan’s government, and it addresses questions such as how this major, still continuing disruption in Turkey’s politics will affect not only the future of the movement but also that of Turkey's embattled democracy as well.

Contemporary war is as much a quest for decisive technological, organizational, and doctrinal superiority before the fighting starts as it is an effort to destroy enemy militaries during battle. Armed forces that are not actively fighting are instead actively reengineering themselves for success in the next fight and imagining what that next fight may look like. Twenty-First Century Military Innovation outlines the most theoretically important themes in contemporary warfare, especially as these appear in distinctive innovations that signal changes in states’ warfighting capacities and their political goals.

Marcus Schulzke examines eight case studies that illustrate the overall direction of military innovation and important underlying themes. He devotes three chapters to new weapons technologies (drones, cyberweapons, and nonlethal weapons), two chapters to changes in the composition of state military forces (private military contractors and special operations forces), and three chapters to strategic and tactical changes (targeted killing, population-centric counterinsurgency, and degradation). Each case study includes an accessible introduction to the topic area, an overview of the ongoing scholarly debates surrounding that topic, and the most important theoretical implications. An engaging overview of the themes that emerge with military innovation, this book will also attract readers interested in particular topic areas.

In this remarkable work by seasoned scholar Lawrence Rosen, we follow the fascinating intellectual developments of four ordinary Moroccans over the span of forty years. Walking and talking with Haj Hamed Britel, Yaghnik Driss, Hussein Qadir, and Shimon Benizri—in a country that, in a little over a century, has gone from an underdeveloped colonial outpost to a modern Arab country in the throes of economic growth and religious fervor—Rosen details a fascinating plurality of viewpoints on culture, history, and the ways both can be dramatically transformed.

Through the intellectual lives of these four men, this book explores a number of interpretative and theoretical issues that have made Arab culture distinct, especially in relationship to the West: how nothing is ever hard and fast, how everything is relational and always a product of negotiation. It showcases the vitality of the local in a global era, and it contrasts Arab notions of time, equality, and self with those in the West. Likewise, Rosen unveils his own entanglement in their world and the drive to keep the analysis of culture first and foremost, even as his own life enmeshes itself in those of his study. An exploration of faith, politics, history, and memory, this book highlights the world of everyday life in Arab society in ways that challenge common notions and stereotypes. 

Frank Bergon’s astonishing portrayals of people in California’s San Joaquin Valley reveal a country where the culture of a vanishing West lives on in many twenty-first-century Westerners, despite the radical technological transformations around them. All are immigrants, migrants, their children, or their grandchildren whose lives intertwine with the author’s, including several races and ethnicities: Chicanos, Mexicans, African Americans, Italians, Asians, Native Americans, Scots-Irish descendants of Steinbeck’s Okies, and Basques of the author’s own heritage.

Bergon presents a powerful array of rural and small-town Westerners who often see themselves as part of a region and a way of life most Americans aren’t aware of or don’t understand, their voices unheard, their stories untold. In these essays, Westerners from the diverse heritage of the San Joaquin Valley include California’s legendary Fred Franzia, the maker of the world’s best-selling Charles Shaw wines dubbed “Two-Buck Chuck,” and Darrell Winfield, a Dust Bowl migrant and lifelong working cowboy who for more than thirty years reigned as the iconic Marlboro Man. Their voices help us understand the complexities of today’s rural West, where Old West values intersect with New West realities. This is the West (and America today)—a region in conflict with itself.